艺术地理学视阈下的江南绘画审美形态之源

The Origin of Jiangnan Aesthetics of Painting from the Perspective of Art Geography

明清时期江南绘画审美形态已泛化为中国绘画审美的一般性特征,其地域性特征已趋于模糊。作为"本真"意义上的江南画风被"他者"所普遍认同的转捩点在北宋晚期。这一时期的江南绘画审美形态既不包含沉重的政治意涵和主从伦理观,也没有宗教故事和象征性母题的束缚,属于一种自由而纯粹的审美表达,画面中开放性的意象,凸显其诗性审美特性和审美价值。作为当代江南地区的油画家,同样也受此地域审美基因和审美性格的影响,并将其自觉地融入油画创作之中,从而实现当代江南风景油画审美体系的本土回归。

In Ming and Qing Dynasties Jiangnan Aesthetics of Painting had been regarded as a general feature of Chinese painting aesthetics,and its geographical features became blurred.The turning point of naturalization of Jiangnan painting style took place in the late Northern Song Dynasty when its authenticity was generally accepted by the Other because neither did it contain substantial political meaning and principal-subordinate ethics,nor did it have the fetter of religious stories and symbolic motifs.It belonged to a kind of free and pure aesthetic expression,an open image in the picture,highlighting its poetic aesthetic characteristics and aesthetic value.Contemporary oil painters in the Jiangnan area are also influenced by its aesthetics,and consciously integrated it into the oil painting creation,realizing a return of the tradition.